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Movie Review ~ You Hurt My Feelings

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The Facts:

Synopsis: A novelist’s long-standing marriage is suddenly upended when she overhears her husband giving his honest reaction to her latest book.
Stars: Julia Louis-Dreyfus, Tobias Menzies, Michaela Watkins, Arian Moayed, Owen Teague, Jeannie Berlin, Amber Tamblyn, David Cross, Josh Pais, Deniz Akdeniz, Zach Cherry
Director: Nicole Holofcener
Rated: R
Running Length: 93 minutes
TMMM Score: (10/10)
Review: I don’t want to be this kind of critic (or person?), but I think I have to say it. To fully appreciate You Hurt My Feelings, to really understand why it bites down so hard on nitpicks and nagging, to get why audience members around you may laugh at lines that don’t have a punchline, I think you need to have been in a serious relationship for a significant amount of time. It’s from that human experience to know someone so well and intimately that it will only take one glance from them, or lack thereof, to give you satisfaction or send you on a shrill spiral to your perception of super doom where you truly, wholly, feel the perfection of writer/director Nicole Holofcener’s film.

That’s not to say you singles or mingles out there aren’t going to love this sharp comedy, too, a cool breeze of a film arriving at the beginning of summer to air out the stink of the last few months. Holofcener’s script has plenty of valuable takeaways, her first since working on 2021’s The Last Duel with Ben Affleck and Matt Damon (She was also nominated for an Oscar for writing 2019’s Can You Ever Forgive Me?). Flying under the radar for years, when she does surface, Holofcener almost always has something interesting to say, even if it may not be aiming to please all comers. Reteaming with Julia Louis-Dreyfus, the star of her 2013 feature Enough Said, Holofcener crafts a story for this modern era of big, easily bruised egos.

Riding the marginal success of her memoir to a teaching position at an NYC college, Beth (Louis-Dreyfus, Onward) is putting the finishing touches on her new work of fiction. Years in writing and revising, her agent thinks it needs more work but encouraged by her husband’s positive feedback, she is going out on a limb and bringing it to a new agent to see if he can get it sold for the right price. At the same time, her husband, Don (Tobias Menzies, Casino Royale), is experiencing a staleness in his job as a therapist and couples’ counselor. His regular patients (real-life couple David Cross and Amber Tamblyn) bicker viciously during their sessions, and a new referral (Zach Cherry, Isn’t It Romantic) is passive-aggressively hostile toward him. Then there’s his tendency to mix up the maladies of one patient with another – he’s adrift.

After visiting their mother (a caustically hysterical Jeannie Berlin, The Fabelmans), Beth and sister Sarah (Michaela Watkins, Paint) spot Don shopping with Sarah’s husband Mark (Arian Moayed, Spider-Man No Way Home) and decide to surprise them. That’s when it happens. Sneaking up on her husband, Beth overhears him telling Mark his honest thoughts about her completed work…and it’s not the same positive critique he’d been passing on to her for years. This revelation creates a fissure between the two, opening a deep well of trust issues having more to do with a lack of general communication in their marriage than with one opinion not being shared. Amid all this, their adult son, Eliot (Owen Teague, Montana Story), returns home with relationship difficulties crushing his world too. 

While the plot summary and general idea of You Hurt My Feelings revolves around this supposed betrayal by Don, it’s not the true epicenter of the story Holofcener is conveying. That would be far too simple of a message for a writer/director who has always made what could be a trivial situation into a meaningful look at reactive relationships. Most of our stable relationships are just waiting for a glass of milk to be spilled to drum up a conflict that has nothing to do with the puddle in the center of the table, right? Here, Holofcener takes Don hiding behind an oft-used excuse, “I was trying to be supportive,” to allow a more significant discussion about relationships.

Did I mention the film is wildly funny too? If I’m making it all sound like a gloomy Bergman exploration of betrayal in NYC, it’s not that. I found every scene perfectly constructed and well-tailored to each actor, down to the minor supporting role. As interesting as Beth and Don were, I would watch an entire film about Sarah and Mark’s relationship or revisit Beth and Sarah’s acerbic mother if she took a trip somewhere. Holofcener gives these characters function and purpose in a short time and casts extraordinary actors to bring them to life.

Already triumphing on television, it’s time for Louis-Dreyfus to start practicing her red-carpet walk for even more prestigious award shows. I thought she delivered so well in Enough Said that she could have been on the shortlist there. However, in You Hurt My Feelings, she goes further, portraying a complicated (i.e., not always likable) person but never letting the audience want to root against her. Her work here is unlike anything I’ve seen her in, and intense scenes with Menzies and Teague could be career high points. Watkins could also be in on some excellent recognition for a fascinating performance. A frustrated interior decorator married to a struggling actor (Moayed is excellent, resisting the urge to lean into that sallow thespian trope), she has a spiky edge. Still, she recognizes and then appreciates how different her relationship with her husband is compared to her sister. 

Holofcener has written and directed many strong films over her career, but You Hurt My Feelings is the first one I’d call perfect. The script is tight, and each scene is a little masterclass in comedy or high-stakes drama. Cross and Tamblyn’s crossfire fighting is bulletproof comic gold, just as a quiet, dialogue-free exchange between Louis-Dreyfus and Berlin is lovely to watch unfold. That’s the beauty in what Holofcener does for film and those who love it – she brings some of the real world, warts and all, into the open.

Movie Review ~ Joker

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The Facts:

Synopsis: A clown-for-hire by day, strives to be a stand-up comic at night…but finds that the joke always seems to be on him. Caught in a cyclical existence teetering on the precipice of reality and madness, one bad decision brings about a chain reaction of escalating, ultimately deadly, events.

Stars: Joaquin Phoenix, Zazie Beetz, Robert De Niro, Marc Maron, Frances Conroy, Brett Cullen, Bill Camp, Glenn Fleshler, Douglas Hodge, Josh Pais, Shea Whigham, Douglas Hodge, Dante Pereira-Olsen

Director: Todd Phillips

Rated: R

Running Length: 121 minutes

TMMM Score: (7/10)

Review: I’ve almost been dreading the day I had to see Joker ever since I saw the first preview for it.  Though the internet lost their minds when they got a look at Joaquin Phoenix in costume and there were plenty exclamations of “Take My Money!” (What does that phrase mean, exactly? Anyway…), I didn’t understand what this movie was meant to do.  For audiences.  For the studio.  For the character.  The Joker has been played indelibly before by the likes of Caesar Romero, Jack Nicholson, and Heath Ledger…did Phoenix really want to walk a mile in those clown shoes and be compared to those titans?  Also, the movie just looked skeevy and drab, clearly aiming to distance itself far from any vision yet of Gotham City.

So it came to pass that the day the screening arrived nothing seemed to go right.  Waking up on the wrong side of the bed doesn’t even begin to describe it.  The day was gloomy, the night was rain-soaked.  The topper was a crazy security line to get into the preview that had the effect of setting a somber mood.  Being slowly wanded by a security guard made me feel like there was something to be wary about, the early buzz of the movie’s excessive violence bouncing around in my head.  Were critics worrying the movie might stir unrest not all that unfounded?  I was on edge from the beginning.

Perhaps all that build-up and early fretting helped me stave off some of the higher expectations others may have going into the movie this weekend.  While it’s certainly as violent as I’d heard and more deeply upsetting than I was imagining, I watched Joker with a transfixed gaze without being able to turn away.  I didn’t always like what I was seeing but I couldn’t take my eyes off of the screen.  It’s a film that starts with a bleak outlook and just goes downhill from there with little reprieve, hope, or kindness offered along the way.  Even so, there’s a certain beauty in all that ugliness.

A standalone story that doesn’t involve the caped crusader (no mention of the B-word at all), Joker basically gives the Clown Prince of Crime the Wicked treatment and makes the character we’ve come to know as the villain the protagonist of the story.  Director Todd Phillips (The Hangover Part III) co-wrote the screenplay with Scott Silver (The Finest Hours) and borrows liberally from Martin Scorsese’s acclaimed classics Taxi Driver and The King of Comedy.  Setting the action in 1981 NYC gives Phillips the opportunity to let production designer Mark Friedberg (Noah) and costume designer Mark Bridges (Phantom Thread) pull out all the stops and the Big Apple is indeed recreated in all its seedy, smoky glory.  It’s almost worth the price of admission alone to see the way the filmmakers have crafted not only the look of the time but also the mood.

Arthur Fleck (Phoenix, The Master) makes a meager living as clown hired out for odd jobs while dreaming of making it as a stand-up comic on the Murray Franklin (Robert De Niro, Cape Fear) show.  Living with his mother (Frances Conroy, Falling in Love) in a one-room apartment, he suffers from brain trauma causing him to laugh uncontrollably when faced with stress.  Entertaining a new friendship with a neighbor (Zazie Beetz, Deadpool 2), Arthur becomes more infatuated with the thought of fame.  His weekly therapy sessions hint at a man with diagnosed mental health issues not getting the kind of significant treatment he needs and, eventually, not even having the benefit of meeting with his psychiatrist. Soon, he’s a man on the edge finally pushed to his breaking point.

While dressed as a clown, he’s assaulted on a subway and strikes back.  Though his identity goes unnoticed, his actions do not, inspiring the lesser thans in a city roiling in unrest to find a common bond and uniting in their shared anger.  Though he claims to not stand for anything, deep down Arthur shares in their feelings, wondering why the world is so messed up and people have become so rotten to one another.  Finding a newfound strength with his painted on persona and with his inner circle closing in around him, Arthur sets his sights on a broader audience and when his path crosses with his favorite television star, he seizes an opportunity to take the Joker global.

There’s a few ways you can look at what Phillips and Silver are going for with Joker.  You can view the movie from a perspective that a terrible society without feeling or order breeds people like Arthur Fleck.  He’s pushed aside and forgotten, left to fend for himself without any real chance to succeed.  How can we expect people to be better, do better, if they aren’t given some kind of opportunity or a means of support?  There’s another way to look at the film and I think it’s more dangerous.  Maybe it’s a thinly veiled battle cry against a humanity that has become self-absorbed and aims to restore some order by introducing a violent messiah messiah-figure to idolize.  I doubt the filmmakers knowingly were aiming for this but our culture isn’t that great at reading into the deeper meanings in metaphor so if some kind of statement on the dangers of societal violence was being made I think it was lost in the telling.  The fears some people have voiced that the movie may be pro mob-mentality aren’t that off the mark.

At the epicenter of it all is Joaquin Phoenix’s polarizing performance as Fleck/Joker which hits the bullseye at times but is wildly weird at others.  Backed by a surprisingly alert performance from De Niro and an eclectic mix of character actors, Phoenix is never off screen, which gets exhausting. Phoenix is known for immersing himself in roles to sometimes concerning levels and I spent most of the movie wondering how long it took for him to bounce back after filming had completed.  That’s a problem.  I was always aware it was a performance while watching his gaunt and greasy figure move from scene to scene.

Losing weight for the role gave him the wan visage intended but you can see him angling his body or sucking his stomach in to show each rib and bone – so it’s clearly all for show.  Strangely, it’s when Phoenix is in make-up as Joker (actually, anytime he’s in clown make-up throughout the movie) that he’s nothing short of electric.  Especially as the film ramps up to its troublesome final act, Phoenix positively comes alive and sheds the more pithy acting choices he’s made up until that point.  Now, there’s more than danger present in Arthur’s eyes, there’s glee in the dread he’s inflicting on Gotham City and happiness he’s being noticed for the first time in his unhappy life.

We’ve had so many interpretations of Batman over the years that maybe it wasn’t all that bad of an idea to have a different take on one of the players in his rogue gallery of villains.  I’m not sure Joker is exactly the movie we needed right now at this point when our nation is so overwhelmed with negativity and a general aimlessness, but it’s a well-made and in your face film that will surely open up conversations.  You can argue the intentions of the filmmakers but you can’t argue that the movie isn’t intriguing in its own weird way.